1) How old are you?
I am 58 years old—the same age as the Gateway Arch in St. Louis, Missouri, by Eero Saarinen; the same age as the original Whitney Museum of American Art building on Madison Avenue in New York City by Marcel Breuer; and the same age as the first season of the “Star Trek” television series by Gene Roddenberry and the iconic holiday classic Chuck Jones’ animated adaptation of How the Grinch Stole Christmas by Dr. Seuss.
2) What did you want to be when you were a child?
The first time I was asked this question was for a homework assignment in grade school. I took it very seriously and thought long and hard. I wanted to be a lighthouse keeper. I was so proud of my answer, and when I stood up in class and explained, my classmates all laughed and thought it was a joke. A lighthouse is the beacon at the edge of the world that leads ships to safe harbor. It is a guiding light discerning safety from danger! As a bonus, the keeper gets to live in and take care of an incredible historic building in a scenic location. My third-grade guidance counselor heard this and wanted me in therapy.
3) What has been an influential experience in your life?
Growing up in a strict Mennonite community in rural Ohio truly shaped my ethics and values. Leaving that community to travel the world shaped what I care about in life: appreciating other cultures and diverse perspectives.
4) Can you talk about the history of the Vilcek Foundation?
Jan and Marica had the idea to start the Vilcek Foundation to recognize and advance immigrants in the arts and sciences, and genuinely enrich the arts in the United States. Jan was a biomedical scientist at NYU Langone for 60 years, where he developed the drug Remicade, which is how the foundation was funded. Marica was a classically trained European art historian who was the curator in charge of accessions and cataloguing at the Metropolitan Museum of Art for 31 years. This is why we focus on biomedical science and art. Jan and Marica are extraordinary people: quiet and humble. Unlike some philanthropists, they put the spotlight on others and not themselves. This ethos is very much in alignment with my personal philosophy and conduct. Jan was the president for the first 16 years. As current president and as a curator, through the foundation I have the opportunity to make the change I want to see in the world.
5) Do we activate better chances at positive change when history is brought into the conversation?
Absolutely. We must look to history to understand how to build a more equitable future.
6) Can you tell us about upcoming projects at the Vilcek Foundation?
We’ll be celebrating the 25th anniversary of the foundation in December—it’s a meaningful moment for retrospection and planning for our future. We’re currently in the process of awarding prizes to fashion professionals, highlighting their achievements across the field of design, material innovation, and research. And in terms of art, our latest exhibition, Il Lee—Energy and Flow:Abstraction of Movements has opened at our headquarters on New York’s Upper East Side. Lee’s epic works in ballpoint are not to be missed.
7) How does the financial component affect the mission-driven curatorial aspect? And what do you wish in order for institutions like yours to continue to thrive?
Philanthropy is a big responsibility and I take it very seriously. There are many services and causes in the United States that benefit the greater public but are entirely funded by private philanthropy. This endeavour is unique to our nation. Our mission at the Vilcek Foundation is to support foreign-born individuals making significant contributions to the United States through the arts and the biomedical sciences. We cannot save children, feed the world, save species from extinction—other institutions must do that, and I hope they will. Now more than ever, the world needs philanthropy.
8) Your favorite place in New York?
As a museum insider, I love to be in the storerooms of any museum. It’s a special privilege that always gives me a thrill. The Arms and Armory galleries at the Metropolitan Museum of Art are my favorite public space in all of NYC. Each time I enter and see the mounted knights I get goosebumps. My first job in New York was at the Metropolitan Museum of Art, and I’ve always stayed connected to the institution. I’m a member of the Negroli Society and Friends of Arms and Armor, so if you want to come with me to a reception there, just let me know.
9) Preferred soundtrack while working?
What a great question. Soundtracks are a big part of my real-life practice. For me, step one for any new project (exhibition, book, or film) is to make a playlist to get into the spirit of the thing. When I took on the restoration of a historic Honolulu residence, a 1970s minimalist masterpiece of “tropical brutalism” by architect Chip Detweiler, I immersed myself in the music of the region and era. You can listen here. While working with the Pueblo Pottery Collective on the exhibition and catalogue Grounded in Clay: The Spirit of Pueblo Pottery, I explored the music of artists like the Zuni Olla Maidens and Chester Mahooty. Take a listen.
10) Would you agree that a dance floor is never simply a dance floor?
While I do agree that a dance floor is a platform where all manner of society unfolds, you’ll never find me on it. I’d rather be the DJ.
11) Will you ever leave NY? And if yes, where would you go?
I really love NYC and will always be here. I also love Honolulu AND Santa Fe—both are incredibly beautiful, and culturally rich.
Domenica Bucalo and Rick Kinsel in conversation. June 2025, New York
Fashion Stylist - Mia Hurley
Make up Artist Alberto Luengo.
